The National Art Center, Tokyo, Special Exhibition Gallery 1E Closed on Tuesdays (except for April 30,2013)

B uf f , Straub
St ra ub & Hensman
Hensma n (1955–1961, later Buff, Hensman and Associates) Recreation
hoto b y Julius
Juliu s Shul
Shulman,man , 1959
19 59 The Getty Researchecreation pavilion, Mirman House , Arcadia, 1958 PPhoto
Institute, Los Angeles © J. Paul G ett y Trust. Us e d wit
with permission.
permission Julius Shulm
Shulma n Photo
Ph oto gra phy Archive,
chive, R esea rc
rch Libr
Library
ry ata the Getty Research Institute (2004.R.10(200)

Hours | 10 : 00 - 18 : 00 ( 10 : 00 - 20 : 00 on Fridays)* Op e n u n t i l 22 : 00 on saturd ay, M a rc h 23, 20 1 3 ( Ro p p ongi Ar t Night 2013)* Admission up to 30 minutes before closing
Organized by The National Art Center, Tokyo & Los Angeles County Museum of Art
In cooperation with JAPAN AIRLINES & Nippon Cargo Airlines

Over view
The National Art Center, Tokyo presents California Design, 1930 -1965 : “Living in a Modern Way” . The exhibition - the first major
study of modern California design - examines the state’s key role in shaping the material culture of the country at mid-century.
California Design features more than 250 objects in wide-ranging media, including furniture, textiles, fashion, graphic and industrial

design, ceramics, jewelry, metalwork, and architectural drawings, as well as film.
“California is America, only more so”, the author Wallace Stegner famously declared in 1959. Throughout most of the twentiethcentury, the state symbolized the good life in America. After 1945 a burgeoning, newly prosperous population - intoxicated by thepower to purchase after the deprivation years of the Great Depression and the war time rationing of goods - turned the state into

America’s most important center for progressive architecture and furnishings. This exhibition explores how the California of ourcollective imagination - a democratic utopia where a benign climate permitted life to be led informally and largely outdoors - wastranslated into a material culture that defined an era. To tell the story of how California provided the ideal environment for modernism

to flourish in a way particular to the state, the exhibition is divided into four sections : “Shaping” , “Making” , “Living” , and “Selling”.
As émigré Greta Magnusson Grossman declared in 1951, California design “ is not a superimposed style, but an answer topresent conditions…. It has developed out of our own preference for living in a modern way ”.
*This exhibition was organized by the Los Angeles County Museum of Art.

Exhibition Highlights
First Major Exhibition Focusing on California Modern Design*In Theconjunction with LACMA (Los Angeles County Museum of Art ), renowned as the largest museum on the West Coast of theUnited States, this major exhibition will allow visitors to experience mid-century California Modern firsthand.
A Collection of Works from a Wide Range of Genres*Alongwith furniture, fashion, graphic design, ceramics, jewelry, and architectural photographs, cars and surfboards will be among
the approximately 250 works from a variety of genres on display. Visitors will have an opportunity to see actual works by noted
designers such as Charles and Ray Eames, and R. M. Schindler.

【Left】Raymond Loew y (b. France, 1893-1986), Studebaker Corporation (Indiana, 1852-1966), Studebaker Avanti , 1963, Iron, alminium, FRP, glass, 178.3 x 487.9 x 138cm, Toyota Automobile Museum【Right】Greg Noll (b. 1937, active Hermosa Beach), Surfboard, c. 1960, Polyurethane foam, fiberglass cloth, polyester resin, wood, Height : 114 in. (289.56 cm) ; Width : 22 in. (55.88 cm), LACMA, Gift ofMatt Jacobson, M.2011.132

Wealth of Related Films*InAaddition
to TV commercials and scenes from Hollywood movies of the era that feature California furniture and fashion, we will
present interviews with some of the pioneering artists whose work appears in the exhibition. This multitude of rare footage will
add another dimension to the event.
A Definitive Catalogue of California Design*Alongwith an essay by Wendy Kaplan, who in addition to being a recognized specialist in design history has overseen countlesslarge-scale exhibitions, the catalogue will include many intriguing and informative texts, making it an attractive and essential
guide to understanding the field.
Wide Array of Related Events*A Avarietyof events including lectures by specialists from a wide range of fields related to California and design will be presented
in conjunction with the exhibition to provide visitors with an opportunity to consider the subject from a multitude of perspectives.

Outline
Shaping California Modern
In the boom economy of the 1920s, California experienced extraordinary population growth. As aerial views of Los Angeles demonstrate,
millions of new denizens flocked to the states’ urban areas. All these people needed housing and furnishings : the “Shaping” section

focuses on the 1930s because that is when buildings and their contents started to be made in modern ways and in modern styles.
By the onset of World War II, these homes and their furnishings were characterized by a particular kind of modernism rooted
in California culture and conditions. The general qualities associated with the state (optimism and democracy, fearless experimentation,
and a love of new technology) and those specifi c to design (an affinity for light and brilliant color, an openness to Asian and Latin
influences, and an advocacy of fluid spaces and cross - disciplinary approaches) made California’s best products distinctive.
While championing new technologies, innovative materials, and simplified geometric forms, California modernists retained
the individuality of the earlier Arts and Crafts movement, the sense of being particular to a place, and a connection to nature. In
contrast to the stern moral dictates of the European International Style, a more humanistic modernism emerged here, one that fully
embraced comfort and leisure, and responded directly to the environment.

Kem Weber (b. Germany, 1889-1963, active Los Angeles) Desk and chair, c. 1938, Exhibited at the Golden Gate International Exposition, San Francisco, 1939, Satinwood, primavera, chrome, aluminum, resin, leather(replaced), Desk : 30 1/4 x 60 x 30 in. (76.8 x 152.4 x 76.2 cm), LACMA, Purchased jointly with funds provided by the Decorative Arts and Design Deaccession Fund, Viveca Paulin-Ferrell and Will Ferrell, Shannon andPeter Loughrey, Heidi and Said Saffari, and Holly and Albert Baril

Making California Modern
After 1945 the United States became the world’s strongest industrial, military, and cultural power. California played a key role inthis development, having dominated defense and aerospace production during World War II. After the war this escalated production
had a galvanizing effect on the design and manufacture of consumer goods in the state. Fiberglass, molded plywood, wire mesh,and synthetic resins were only some of the innovative materials developed in the early 1940s that would be imaginatively adaptedto peacetime use. For the first time, such materials could be applied inexpensively to products for the home, opening a new middle class market for California modern design.
California artists working in traditional craft media also responded to the spirit of modernism and experimentation ; many tried
to adopt new methods of production to make their work more accessible to middle - class consumers. The state became the nationalmodel for “designer - craftsman” production - activities that sought to bridge the gap between the studio and the factory. The same
qualities that characterized the modern California home - fluidity, openness, experimentation, and the abolition of boundaries equally applied to the work of the modern California designer. The goal was to provide well - designed homes and furnishings,
whether handmade or industrially produced, for the millions of newcomers to California who craved them.

【Left】Charles Eames (1907-1978, active Venice), Ray Eames (1912-1988, active Venice), Molded Plywood Division, Evans Products Company (Venice, 1943 - 47), Elephant, 1945, Molded plywood, 16 1/2 x 30
3/4 x 16 1/4 in. (41.9 x 78.1 x 41.3 cm), Eames Collection, LLC【Right】Gertrud Natzler (b. Austria, 190 8 - 1971, active Los Angeles), Otto Natzler (b. Austria, 190 8 - 2007, active Los Angeles) Bowl, 1943,
Earthenware, Height : 3 1/2 in. (8.8 cm) ; diameter : 8 1/2 in. (21.5 cm), LACMA, Gift of Rose A. Sperry 1972 Revocable TrustLiving California Modern
The people of America have found a new mode of living, and southern California, the richest community in the world, is fostering
the economical, colorful, casual California Way of Life that you all enjoy.
Richard Neutra, The California (March 1948)
The climate and culture of California provided the ideal environment for modernism to take root and flourish. Like its counterpart
in Europe, California modern was functionalist, anti-ornament, and utopian in the conviction that design and technology could
transform society. California practitioners, however, adhered to a looser, warmer, more ad hoc modernism, one almost exclusively
domestic in scale. The focus of the “Living” section is the contents of the modern California home, with architectural drawings
selected to highlight how such spaces were animated.
California modern was not a single aesthetic but a loose, albeit clearly recognizable group of ideas. It was “democratic” in thesense that it could be achieved by people of modest means. It was characterized by the easy commingling of all kinds of production
for the home, whether handmade, industrial, or a combination of the two. It drew on influences from many different cultures,
especially Asia and Mexico, for both materials and forms. And it embraced the informality that came with permeable spaces by
blurring the distinctions between indoors and out as well as the functions of living, eating, and sleeping spaces inside the home.

【Left】Richard Neutra (1892–1970, active Los Angeles), Kaufmann House, Palm Springs, 1946, Photo by Julius Shulman, 1947, The Getty Reserch Institute, Los Angeles【Right】Levi Strauss & Co. (San Francisco, 1853 present), Pants and top, c. 1955, Cotton, Levi Strauss & Co. Archives, San Francisco

Selling California Modern“Good design is seldom accepted”, Julius Shulman asserted. “It has to be sold”. He was referring to his own role in staging architectural
photography, but the statement could be equally applied to exhibitions, stores, advertising, publications, and film, which were theprincipal agents in disseminating modern California design.
After 1945 pent - up demand for new products was enormous, fueled by the lifting of restrictions on domestic consumption. A
prosperous postwar America required the promotion of a consumer culture. In California, as elsewhere, museums teamed up withretailers and magazines; magazines formed alliances with building and furniture companies. For example, Arts and Architecture’ s Case
Study House Program was supported with materials donated by the housing industry, and many of its furnishings were provided by
local retailers. Such collaborations attest to the fluid boundaries between art and commerce, together with a democratic belief in the
integration and equality of all forms of artistic expression.
Descriptions of California between the 1930s and the 1960s portray the state either as a larger-than-life reflection of the country
as a whole or as a portent of America’s future; they are usually characterized by a relentless, giddy optimism.
As a journalist noted in 1946, “ What America is, California is, with accents, with italics”. Selling California’s products could not be
eparated from selling the idea of California itself.

【Left】John Follis (1923-1944, active Pasadena and Los Angeles), James Reed (n.d., active Los Angeles area), Arts and Architecture (magazine cover), September 1953, Offset lithography, 12 1/2 x 9 1/2 in.
(31.8 x 24.1 cm), Collection of Los Angeles Modern Auctions (LAMA)【Right】Charles Eames (1907-1978, active Venice), Ray Eames (1912-1988, active Venice), Herman Miller Furniture Company ESU, (Eames
c. 1949, unit)
Zinc-plated steel, birch-faced and plastic-coated plywood, lacquered particle board, rubber, 69 x 47 x 16 in. (175.3 x 119.4 x 40.6 cm), LACMA, Gift of Mr. Sid Avery and Mr. James Corcoran
ESU, (Eames, storage

Admission
General Tickets ￥1,000 (Adults) , ￥500 (College Students) Advance Tickets ￥800 (Adults), ￥300 (College Students)
Group Tickets ￥800 (Adults), ￥300 (College Students)

Visitors who are under 18, including high school students, and disabled people with ID booklets (along with one assistant) will be*admitted
free.
Free admission on Sat., March 23 in conjunction with “Roppongi Art Night 2013”* Free admission on Sat., May 18 for International Museum Day.
* Group tickets will only be available at the venue (discounts only applicable to groups of 20 or more).
* Visitors who present a ticket or ticket stub from another exhibition currently underway at the National Art Center, Tokyo, Suntory*Museum of Art or Mori Art Museum (the three facilities that make up the Roppongi Art Triangle) will be eligible for the group discount.
Tickets (both Advance and General) are available through Ticket Pia (P-Code : 765-394), and Lawson Ticket (L-Code :39105). Service*charges
may apply.
Advance tickets can be purchased through the above services from Wed., November 7, 2012 to Tue., March 19, 2013*(until Mon., March 18, 2013 at the venue).
* For details and the latest information, see the center website : http : //www.nact.jp/

Related Events■Lectures □Screening ◎Workshop■“California Design : Why Now ? ” (Tentative Title)
Wendy Kaplan (Organizer of this exhibition, Curator and Department Head, LACMA) × Japanese architect Wed. , March 20, 13: 00 -15 : 00
*In cooperation with Shinkenchiku-sha■“California Design, 1930 -1965” Wendy Kaplan (with consecutive interpretation into Japanese) Sun. , March 24, 14 : 00-15 : 30■“California : Culture and Design” Hiroshi Unno (Art Critic, Writer) Sat. , April 13, 14 : 00 -15 : 30
Venue : 3F Auditorium, The National Art Center, Tokyo (Limited to 250 ; First-come, first-served) Admission free with exhibition ticket□ “EAMES : the architect and the painter” Screening (with Japanese subtitles) and Talk Event Sun. , April 21, 14 : 00 -15 : 40
*In cooperation with UPLINK
Venue : 3F Auditorium, The National Art Center, Tokyo (Limited to 250 ; Prior registration required.)【“California Design” × Exhibition “Design Ah!”】■Lecture by Taku Satoh Sat. , May 11, 14 : 00 -15 : 30 Venue : 3F Auditorium, The National Art Center, Tokyo (Limited to 250)
◎Workshop Sat. , April 27 Venue : 21_21 DESIGN SIGHT (Prior registration required.)
Discount (￥100 off) applies for one person presenting one ticket stub or entrance receipt of the exhibition “Design Ah! ”. Cannot be
combined with any other discount.
21_ 21 D E S I G N S I G H T E x h i b i t i o n “Design Ah !” F r i . , F e b ruary 8 - Sun. , June 2 Venue: 21_21 DESIGN SIGHT (Tokyo Midtown Garden)
Unless otherwise mentioned, these events are only available in Japanease.
All events are subject to changes in time and content. For details and the latest information, see the center website : http : //www.nact.jp/

Exhibition held in the same period
Artist File 2013 : The NACT Annual Show of Contemporary Art Wed., January 23 – Mon., April 1, 2013
“The Lady and Unicorn” – from the Musée de Cluny , Paris, France Wed., April 24 – Mon., July 15, 2013

For inquiries or more information, please contact:
Public Relations Division
The National Art Center, Tokyo
Tel : (81) 3-6812-9925, Fax : (81) 3-3405-2532
E-mail : pr@nact.jp

7-22-2 Roppongi, Minato-ku, Tokyo 106-8558, Japan
TEL : (81) 3- 5777- 8600 (Hellodial)
URL : http://www.nact.jp/

Access:Tokyo Metro Chiyoda Line, Nogizaka Station, Exit 6 is directly linked to the CenterTokyo Metro Hibiya Line, Roppongi Station, 5-minute walk from Exit 4a
Toei Oedo Subway Line, Roppongi Station, 4-minute walk from Exit 7

California Design, 1930-1965 : “Living in a Modern Way”
List of Image Data for Press Use
We are pleased to offer a number of images of the works on display to help promote the exhibition. If you would like to receive one (or more),please fi ll out the attached form and return it to us by fax (e-mail requests will also be honored).

1 Buff, Straub & Hensman (1955 -1961, later Buff, Hensman and Associates)
Recreation pavilion, Mirman House, Arcadia, 1958
Photo by Julius Shulman, 1959
The Getty Reserch Institute, Los Angeles

2 Mary Ann DeWeese (1913 -1993, active Los Angeles)

3 Carlos Diniz (1928 -2001, active Los Angeles)

Woman’s swimsuit, 1961
Spandex, Lycra
LACMA, Gift of Mary Ann DeWeese, DeWeese Designs© J. Paul Getty Trust. Used with permission. Julius Shulman Photography Archive, Research Library at the Getty© 2011 The Warnaco Group, Inc. All rights reserved. For Authentic Fitness

Research Institute (2004.R.10)

Corp., Cole of California. Photo © 2011 Museum Associates/LACMA.

Ladd & Kelsey, Architects (Pasadena , 1958 -1980)
Monarch Bay Homes, Laguna Niguel (outdoor dining terrace), 1961
Screenprint
20 1/8 x 26 in. (51.1 x 66 cm)
LACMA, Gift of Gilbert Ortiz and Edward Cella Art + Architecture© Carlos Diniz Archive. Photo © 2011 Museum Associates/LACMA.

Eames (1907-1978, active Venice), Ray Eames (1912-1988, active Venice)
4 Charles
Molded Plywood Division, Evans Products Company (Venice, 1943-1947)

Eames (1907-1978, active Venice), Ray Eames (1912-1988, active Venice)
5 Charles
Herman Miller Furniture Company

Strauss & Co. (San Francisco, 1853-present)
6 Levi
Pants and top, c. 1955

Elephant, 1945
Molded plywood
16 1/2 x 30 3/4 x 16 1/4 in. (41.9 x 78.1 x 41.3 cm)
Eames Collection, LLC

ESU (Eames storage unit) , c. 1949
Zinc-plated steel, birch-faced and plastic-coated plywood, lacquered particle board, rubber
69 x 47 x 16 in. (175.3 x 119.4 x 40.6 cm)
LACMA, Gift of Mr. Sid Avery and Mr. James Corcoran© The Eames Foundation. Courtesy Eames Office LLC (eamesoffice.com)© 2011 Eames Office LLC (eamesoffice.com); © Herman Miller, Inc. Photo © 2011 Museum Associates/LACMA.

CottonLevi Strauss & Co. Archives, San Francisco
Photo © 2011 Museum Associates/LACMA.

Arline Fisch (b. 1931, active San Diego)
7 Peacock
Tail necklace, 1962
Silver, enamel
9 x 7 1/2 in. (22.9 x 19.1 cm)
LACMA, Gift of Arline Fisch in honor of Dr. Jae Carmichael© Arline Fisch. Photo © 2011 Museum Associates / LACMA.

Guidi (1922-1977, active Los Angeles)
10 Robert
Lighthouse at Laguna (album cover), 1955
Offset lithography
12 1/4 x 12 1/4 in. (31.1 x 31.1 cm)
LACMA, Decorative Arts and Design Council Fund

Follis (1923-1944, active Pasadena and Los Angeles)
8 JohnJames Reed (n.d., active Los Angeles area)

Magnusson Grossman (b. Sweden, 1906-1999, active Los Angeles)
9 GretaRalph O. Smith Manufacturing Company (Burbank, c. 1949 -1954)

Arts and Architecture (magazine cover), September 1953
Offset lithography
12 1/2 x 9 1/2 in. (31.8 x 24.1 cm)
Collection of Los Angeles Modern Auctions (LAMA)

Lamp, c. 1949; manufactured c. 1949-1954
Iron, aluminum
51 x 14 7/8 x 12 1/4 in. (129.5 x 37.8 x 31.1 cm)
LACMA, Decorative Arts and Design Council Fund

Art and Architecture, reprinted courtesy of David Travers© Greta Magnusson Grossman Estate. Photo © 2011 Museum Associates/LACMA.

Johnson (1918-1979, active Los Angeles)
11 DanHayden Hall (Alhambra, n.d.)Desk, 1947
Maple, oak
30 1/4 x 54 x 24 in. (76.8 x 137.2 x 61 cm)
LACMA, Purchased with funds provided by The Buddy Taub Foundation, Dennis A. Roach and Jill Roach, Directors© Concord Music Group, Inc. unless otherwise indicated. All rights reserved.

Kapel (b. 1922, active Woodside)
12 John
Chair, c. 1958
Walnut, leather
46 3/4 x 30 1/2 x 26 1/2 in. (118.8 x 77.5 x 67.3 cm)
LACMA, Purchased with funds provided by Martha and Bruce Karsh
Photo © 2011 Museum Associates/LACMA.

© Dan Johnson. Photo © 2011 Museum Associates/LACMA.

California Design, 1930-1965 : “Living in a Modern Way”
List of Image Data for Press Use

Van Keppel (1914-1988, active Los Angeles and Beverly Hills)
13 Hendrik
Van Keppel-Green (Beverly Hills, 1939-early 1970s)

Bernard Kester (b. 1928, active Los Angeles)
14 Crawford& Stoughton (Los Angeles, c. 1962-1964)

Lounge Chair and Ottoman, designed c. 1939 ; made c. 1959
Enameled steel, cotton cord (replaced)
Chair : 24 1/2 x 20 1/2 x 33 in. ; Ottoman : 12 x 20 1/2 x 21 in.
LACMA, Gift of Dan Steen in memory of Taylor Green

Strand textile, c. 1962
Screenprinted cotton
100 x 55 in. (254 x 139.7 cm)
LACMA, Gift of the artist

Paul László (b. Hungary, 1900-1993, active Beverly Hills)
15 PaulLaszlo’ s European Group textile, 1954 or before
Rayon, cotton
105 1/2 x 48 5/8 in. (268 x 123.5 cm)
LACMA, Gift of Peter and Shannon Loughrey© Paul Lászlo Estate/ADAGP, Paris/Artists Rights Society (ARS), New York.

© Bernard Kester. Photo © Museum Associates/LACMA.

Photo © 2011 Museum Associates/LACMA.

Lustig (1915 -1955, active Los Angeles)
16 Alvin
New Directions (New York , 1936 - present), publisher

A Season in Hell (book), 1945

Natzler (b. Austria, 1908-1971, active Los Angeles)
17 Gertrud
Otto Natzler (b. Austria, 1908-2007, active Los Angeles)

Offset lithography
7 1/4 x 5 in. (18.4 x 12.7 cm)
Museum of California Design, Los Angeles, Gift of Mark and Maura Resnick

Bowl, 1943
Earthenware
Height : 3 1/2 in. (8.8 cm); diameter: 8 1/2 in. (21.5 cm)
LACMA, Gift of Rose A. Sperry 1972 Revocable Trust

A SEASON IN HELL by Arthur Rimbaud, © 1945 by Alvin Lustig. Reprinted by permission of New Directions© 2007 Gail Reynolds Natzler, Trustee of The Natzler Trust. Photo © 2011 Museum Associates/LACMA.

Neutra (1892-1970, active Los Angeles)
18 Richard
Kaufmann House, Palm Springs, 1946
Photo by Julius Shulman, 1947
The Getty Reserch Institute, Los Angeles© J. Paul Getty Trust. Used with permission. Julius Shulman Photography Archive, Research Library at the Getty
Research Institute (2004.R.10)

Publishing Corp.

De Patta (1903-1964, active San Francisco area and Napa)
19 Margaret
Designs Contemporary (San Francisco and Napa, n.d.)

Gardo Tackett (1911-1984, active Los Angeles area)
20 LaArchitectural
Pottery (Los Angeles, 1950-1971 ; thereafter Group Artec)

Pin, c. 1946-1957
Silver, quartz
2 x 3 1/2 x 1/2 in. (5.1 x 8.9 x 1.3 cm)
LACMA, Decorative Arts and Design Acquisition and Deaccession Funds

Garden sculpture, c. 1955
Earthenware
Largest totem, height : 81 in. (205.7 cm) ; diameter : 14 in. (35.6 cm)
Collection of the Lawrence family ; lent in honor of Max and Rita Lawrence

Exhibited at the Golden Gate International Exposition, San Francisco, 1939
Satinwood, primavera, chrome, aluminum, resin, leather (replaced)
Desk : 30 1/4 x 60 x 30 in. (76.8 x 152.4 x 76.2 cm)
LACMA, Purchased jointly with funds provided by the Decorative Arts and Design Deaccession Fund, Viveca
Paulin-Ferrell and Will Ferrell, Shannon and Peter Loughrey, Heidi and Said Saffari, and Holly and Albert Baril© La Gardo Tackett Estate. Architectural Pottery, Vessel ® USA Inc. All rights reserved. Photo © 2010

© Margaret De Patta Estate, courtesy Martha Bielawski. Photo © 2011 Museum Associates/LACMA.

Museum Associates/ LACMA.

Byron Wilson (1918-1992, active Oakland)
22 Necklace,c. 1956

Weber (b. Germany, 1889-1963, active Los Angeles)
21 KemDesk and chair, c. 1938

23

Silver, ebony, ivory
8 1/2 x 7 x 1 1/4 in. (21.6 x 17.8 x 3.2 cm)
LACMA, Purchased with funds provided by Martha and Bruce Karsh

Greg Noll (b. 1937, active Hermosa Beach)
Surfboard, c. 1960
Polyurethane foam, fiberglass cloth, polyester resin, wood
Height : 114 in. (289.56 cm); Width: 22 in. (55.88 cm)
LACMA, Gift of Matt Jacobson, M.2011.132© Byron Wilson Estate. Photo © 2011 Museum Associates/LACMA.

Photo © 2011 Museum Associates/LACMA.

Photo © 2011 Museum Associates/LACMA.

California Design, 1930-1965 : “Living in a Modern Way”

Application Form for Image Data and Ticket Giveaway for Press Use
Public Relations Division, The National Art Center, Tokyo

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Tel : 03-6812-9925, Fax : 03-3405-2532, E-mail : pr@nact.jp